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EN
Essay on the life achievement of Marielle Martiniani-Reber, tribute on her 65th anniversary.
EN
Safety of specific textile product may decide about the health of the user, and in special condition also about his life. Most popular textile product is clothing, which plays a very important role in human life, first of all giving the protection against external factors. For the potential user the process of making a selection of clothing is essential also in some psychological aspects. Everyone makes individual choices in this area, based on own preferences, but at the same time the large part of society is fashionable in a non-reflective and automated way. Safety of textile used in relation to articles of clothing, encompasses flammability and the ability to maintain smoking, smoke-generation and toxicity of combustion products, the ability to generate and accumulate static electricity, the release of the products in conditions of normal use certain substances with harmful effects on the human body and in any case hygiene, in particular water vapour permeability. The question of the safety of clothing is a multi-faceted, relating, inter alia, with the construction and technology of obtaining of textile products, but it should be noted that textiles are all the time more produced for the comfort of users, their health and safety.
PL
Textiles in cultural relations between the Roman Empire and the Barbaricum (1st-3rd cent. AD) - autoreferat rozprawy doktorskiej
EN
In the 2012/2013 season, the Polish–Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut at Deir el-Bahari (PCMA UW) continued work in a tomb (Tomb II) cut into the cliffs bordering the temple of Tuthmosis III from the west. The work focused on a shaft and two subterranean chambers (C and D), which yielded together more than 300 pieces of funerary linen and equipment. Despite the disturbed archaeological context, the finds constitute an important corpus of seldom studied and published Pharaonic textiles. Some of the textiles are of very high quality, up to 2 m in length and preserved with their original colors. Importantly, they portray characteristic features of Pharaonic Egyptian textiles. Several pieces have inscriptions, including one with a fragmentary cartouche.
EN
A corpus of funerary linen was found in the 2012/2013 season in one of the rock tombs cut in the cliff bordering the Tuthmosis III temple platform in Deir el-Bahari during the work of the Polish–Egyptian Archaeological and Conservation Mission of the Temple of Hatshepsut at Deir el-Bahari. It derives from unidentified burials and from disturbed archaeological contexts and most probably was deposited in the tomb in modern times. It constitutes an important addition to the known body of funerary linen from the Third Intermediate/beginning of the Late Period, as attested by a cartouche of Taharqo and other elements of the burial assemblages. The discovered textiles provide important information about the funerary functions of linen, as well as technical aspects of Pharaonic textiles.
PL
In the 8th century in Byzantine, Arabic and Chinese workshops weavers produced weft-faced compound twill silks (samits). These textiles were ornamented by confronted animals surrounded by pearls roundels. Usually, a rosette motive was placed between medallions. This design is a compilation of Sasanian (animals decorated with floating ribbons, pearl roundels) and Chinese patterns (symmetricalness, rosettes, ‘scrolled leaves’ motive). Its emergence took place in Central Asia. Some scholars think that it happened in Sogdiana, but the oldest samples of textiles made in the new tradition were found in Astana cemetery in Turfan Oasis (East Turkestan). Moreover, these textiles were warp-faced compound tabby – a weave technique characteristic of Chinese workshops. At first their composition was more Chinese than Sasanian, but successive Persian motives were more common. The most popular design was pearl roundels containing a confronted Pegasus standing on “a scrolled, pointed leaves in profile”. There is a large possibility that textiles found in Astana were produced locally in East Turkestan, probably in Turfan Oasis, which is located on the north branch of Silk Road. It was inhabited by a local community, but also by Sogdian and Chinese merchants. This cooperation could have led to syncretism in art and technical changes.
EN
The evaluation of the laundering process requires microbiological cleanness testing. There are no clearly established methods for determining the number of microorganisms surviving in fabrics after washing. The aim of the study was to evaluate the number of bacteria surviving the laundry process in textiles stained with blood. Cotton textile samples were infected with three species of bacteria and subjected to model laundering. Following this process, microorganisms were extracted, cultivated and counted. Two colony counting methods – manual and instrumental – were applied. The results show that laundering infected textiles reduces the number of all the bacteria tested. Nevertheless, two species, i.e. Staphylococcus aureus and Bacillus cereus survived in large numbers when a wash bath was used, which may potentially lead to cross-contamination. The instrumental method proved to be better when there are up to 500 colonies to be measured. It also shortens the total time needed to perform the analysis.
EN
This paper focuses on the inhabitants of the duchy of Styria, the inhabitants of small towns, market towns, the capital Graz and rural dominions. There is a particular emphasis on local merchants who were distributors of fabrics and final products. Their probate inventories allow us to gain insights into the products that were locally available and are often regarded as best source for research into changes in consumer habits. Cotton and silk are important indicators of such changes. The article is based on probate inventories covering the period from around 1660 to around 1790, along with several examples from before and after this period. The core of the research database is nearly 1,140 probate inventories from the monastery of Seckau, around 110 from the city of Graz, and another 234 from other Styrian towns, market towns, and dominions. Despite the relatively large number of sources, the study follows a historical-anthropological approach.
EN
Chinese silk has a long history. The sericulture began in Neolithic times. Before the Western Zhou period (1600-1046 BC) the most popular textiles were plain weaved (juan) and gauzes (sha and luo). During the kingship of the Zhou dynasty (Western and Eastern) new types of textiles began to be woven, for example: pseudo-damasks (qi and han qi) and warp faced compound tabby (jin). The most beautiful four-color, and five-color jin fabrics were woven in Han dynasty (206 BC-220 AD). In this period China came in contact with the Western world. It was the beginning of the so-called Silk Road. Weaving technique still flourished during the next periods. The first samit textiles (often decorated with Persian motives) were weaved during the Tang dynasty. The sericulture was a ritual practiced in the common households and royal courts. The silkworm had its own temples and goddess.
EN
Archaeological exploration of Crypt 3 in the commemorative burial complex in the Northwest Annex of the Monastery on Kom H in Dongola in 2012 completed the process of investigation of the three crypts, discovered in the mid-1990s but not fully excavated at the time. Crypt 3, built together with Crypt 2, hosted remains of five individuals. Remains of textiles and grave furnishings were also discovered, among them an oil lamp and part of a broken amphora. Crypt 3 constituted an integral part of a commemorative complex consisting of a naos, two sanctuaries with altars and screens, and a prothesis with altar.
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EN
A number of studies over the last decades have considerably increased our knowledge about production and trade of woollen textiles during the Bronze Age in the Near East, the Aegean, and continental Europe. In the wider Mediterranean area, thanks to the abundance of available evidence, it has been possible to use the concept of wool economy as a frame of reference to define the complex mechanisms behind production and trade of wool. The main aim of this paper is to reflect upon using the concept of wool economy to enhance our understanding of the relevant archaeological evidence from Bronze Age continental Europe.
EN
Textile production during the Hallstatt period was an integral part of everyday life of societies living in Poland. However, discoveries of fabrics are very rare. Textile remains from this period survived primarily in the skeletal bi-ritual graves in the Silesia voivodship. Among preserved fragments of organic finds, remains of clothes and elements of accessories can be distinguished. The best-preserved and well-studied textile remains come from the cemetery in Świbie, Gliwice district. The locality was accidentally discovered in 1930s, but regular excavations started there thirty years later. As a result of the archaeological works, 576 cremation urns and skeletal graves were explored providing a rich set of materials. Grave goods were local products, as well as imports from Southern and Western Europe. Sixty three graves contained remains of textiles. The majority of the surviving fabrics adhered to metal outfits. In addition, research encountered woven tape remains, braided ribbons, threads, and strings. The material acquired from the cemetery in Świbie is the largest textile collection from the Hallstatt period discovered in Poland. It waited in a museum warehouse until the year 2015 when the Institute of Archaeology and Ethnology of the Polish Academy of Sciences in Łódź initiated further studies. Despite the fact that most fragments were small and mineralised, all the undertaken analyses led to a better understanding of textile production in the Hallstatt period in Poland with its innovative and traditional elements.
EN
This article investigates the growing proliferation of curtains and wall hangings as key elements in the design of art exhibitions in the years 1930–1955. To demonstrate how textiles were successfully employed as mediators on the threshold between architecture, design objects, and fine arts, I first examine the increasing use of curtains in the interwar period, Fascist Italy, and Nazi Germany to subsequently explore how the role of fabrics in both countries’ rationalist and neoclassicist architecture also played a significant part in exhibition design after the Second World War. I chart how the interest in textiles culminated in 1955, when glossy plastic curtains were integrated into the exhibition architecture at the first documenta in Kassel, Germany, one of the country’s most prestigious recurring art events to this day. During these politically turbulent decades, the exchange between exhibition designers in both countries was bound together by a profound reassessment of the relation between architecture, design, and art. The renewed consciousness of design as an integrated practice played a key role in 1930s architecture, also providing the foundation for the Bauhaus curriculum and the work of artists, designers, and architects (e.g., Wassily Kandinsky, Giuseppe Pagano, Le Corbusier, Carlo Scarpa, Willi Baumeister, Arnold Bode). I demonstrate that during this period textiles were essential for creating continuity between exhibitions and exhibits of vastly differing styles and contexts. The wall hangings, veils, and banners that were used as part of the monumental spaces created for the Fascist regimes in Italy and Germany were ultimately appropriated and turned into means to undermine the neoclassicist and rationalist style in a way that echoed, I argue, society’s neobaroque sensibility in the aftermath of World War II. Though the Federal Republic of Germany’s first two decades were characterized by the general will to educate its citizens in the aesthetics of internationalism, this effort and the concomitant return to the interwar period were accompanied by a strong resurgence in religiosity and desire for emotionally compelling experiences, which signify a partial disavowal of modernism’s most radical stipulations.
Język Polski
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2019
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vol. 99
|
issue 2
77-90
PL
Celem artykułu jest ustalenie pochodzenia nazw pepitki w językach europejskich. W tekście przedstawia się pokrótce historię tego coraz bardziej popularnego w ostatnich latach deseniu. Główną część artykułu stanowi omówienie określeń pepitki z perspektywy semazjologicznej, którą przyjmuje się z uwagi na fakt, że w językach Europy można wyróżnić kilka grup nazw na podstawie dosłownego znaczenia każdej z nich. Polskie określenia pepitki zostały przejęte z języków: niemieckiego, francuskiego i angielskiego jako zapożyczenia właściwe lub strukturalne.
EN
The aim of the article is to determine the etymology of the names of houndstooth in European languages. A short history of this pattern, more and more popular in recent years, is presented in the text. The main part of the article consists of discussing the designations of houndstooth from a semasiological perspective. This perspective was adopted due to the fact that, in European languages, one can distinguish between several groups of names based on the literal meaning of every name. Polish designations of houndstooth were taken from the German, French and English languages as loanwords or calques.
EN
Coinciding with a lively topical debate on the presence of textiles, fabrics, clothes, and fashion accessories in museum collections and activities, the paper aims at showing a wide range of projects and initiatives undertaken in recent years by Polish museums. The presented analyses and conclusions are based on the results of the national survey on museum operations in 2019–2021 conducted by the paper’s Authors jointly with the National Institute for Museums and Public Collections in the first quarter of 2022, and allowing to review this phenomenon nationally. The survey’s goal was to consider various formats of the presence of such objects and references to them in museums, both those of a more traditional character (e.g., including fashion-related exhibits in the museum collection, their conservation, studying, displaying in exhibitions), as well as of a newer character (e.g., cooperation with clothing companies and fashion designers, holding fashion shows, workshops, and fashion-related contests).
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2020
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vol. 22
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issue 37
37-49
EN
For Shakespearean scholars, the subject of scent in his work has remained relatively lukewarm to discussion. Shakespeare’s use of smell is not only equal to that of his other senses, but smell’s uniquely historical record both on and off the stage illuminate his works in more ways than currently perceived. Shakespeare’s usage of smell is found throughout his works, and their importance on the late Elizabethan and early Jacobean stage present a playwright-director that was exceptionally in-tune with his audiences on the page and in person. Positioned at this culturally significant point in Shakespeare’s career, one work’s utilization of scent textually and theatrically fully explicates the importance of odor in a societal, racial, and domestic capacity: Othello. This article explores and establishes the importance of smell in relation to textual Othello, his “dyed in mummy” handkerchief, and Desdemona in the written tragedy. Additionally, it studies the heighted focus of smell in Othello on a metatheatric level for Shakespeare on his early modern stage, calling attention to the myriad of odors contained in and around his Renaissance theatre and the result effect this awareness would have had on his contemporary audiences in their experience of Othello as a uniquely smell-oriented show.
PL
Fabrics such as byssus and crimson wool can provide us with a surprisingly large amount of information about the circumstances of Biblical books origin. Analysis of lexis related to mentioned textiles, present in Exodus and in Chronicles, allows to notice a meaningful change, occurring in technical biblical terminology. In Exodus, byssus is represented by שֵׁשׁ and crimson – by תּוֹלַעַת שָׁנִי, whilst in Chronicles naming is changed respectively to בּוּץ and כַּרְמִיל. Analysis of etymology leads to the conclusion, that textiles mentioned in Torah belong to an early vocabulary, created in the times before the exile, in Chronicles, on the other hand, encountered terms belong to period of Babylonian captivity or after the exile. Confrontation of these textiles with the other, non-biblical sources, provides a confirmation of proposed dating and facilitates identification of mysterious biblical byssus, which turns out to be a very thin linen and not – as sometimes confused – sea silk. Juxtaposition of the Greek equivalents allows to draw a conclusion, that terminology of both Torah and Chronicles was known to the LXX translators, who – despite a clear caesura – translate terms consequently: שֵׁשׁ and בּוּץ to βύσσος/βύσσινος, and תּוֹלַעַת שָׁנִי and כַּרְמִיל to κόκκινος
PL
Artykuł obejmuje problematykę dialogu i współpracy krajów ASEM powstałych w warunkach narastania wzajemnych współzależności międzynarodowych i zmieniających się warunków współpracy na poziomie globalnym. Pokazuje państwa ASEM, które podejmują działania na rzecz pogłębienia wzajemnych relacji. Artykuł pokazuje jeden z wielu aspektów wzajemnej współpracy. Autorka poddaje analizie handel ogółem, a w szczególności handel tekstyliami w ramach ASEM. Zakres czasowy obejmuje ostatnie dostępne statystyki dotyczące lat 2013–2016. Ich analiza dała podstawę do zweryfikowania tezy, iż kraje Unii Europejskiej importują więcej tekstyliów i odzieży niż wynosi ich eksport do krajów Azjatyckich ASEM.
EN
The paper covers the issues of dialogue and cooperation between ASEM countries in the conditions of growing mutual international interdependencies and changing conditions of cooperation at the global level. It presents the ASEM countries which are taking steps aimed at deepening mutual relations. The paper shows one of the many aspects of mutual cooperation. The total trade between the parties is discussed, with a particular focus on the trade in textiles under ASEM. The time range includes the latest available statistics for the period 2013–2016. The data analysis provides the basis for verifying the thesis that the European Union countries import more textiles and clothing than they export to Asian ASEM countries.
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EN
In a publication titled „Smart fibres in forensics” contains collected information on modern textile products such as smart textiles and their connection to special-purpose garments such as military or medical clothing. According to the literature, specialised modifications are quite often used in such clothing, giving the textiles special properties, for example, antiseptic, i.e. bactericidal and fungicidal. This publication presents the main applications of modified fibres and interesting areas of this field that in the future may pose a real challenge in the work of experts involved in the forensic analysis of textiles. Since the population of special-purpose „smart” fibres is quite rare, the evidence secured at the scene of the crime may prove to be very strong material evidence in the case, which seems to be particularly important for those collecting and analysing the collected research material.
PL
W publikacji pod tytułem Włókna inteligentne w kryminalistyce zawarte są informacje dotyczące nowoczesnych wyrobów włókienniczych, takich jak tkaniny inteligentne, oraz powiązania ich z odzieżą specjalnego przeznaczenia np. odzieżą militarną czy medyczną. Jak podaje literatura, w tego typu odzieży dość często stosowane są specjalistyczne modyfikacje nadające tkaninom szczególnych właściwości np. antyseptycznych tj. bakterio- i grzybobójczych. Niniejsza publikacja przedstawia główne zastosowania modyfikowanych włókien oraz ciekawe obszary tej dziedziny, które w przyszłości mogą stanowić prawdziwe wyzwanie w pracy biegłych zajmujących się analizą kryminalistyczną tekstyliów. Z racji tego, że populacja włókien „inteligentnych” o szczególnym przeznaczeniu jest dość rzadka, to zabezpieczony materiał dowodowy na miejscu zdarzenia przestępczego może okazać się bardzo mocnym dowodem materialnym w sprawie, co wydaje się być szczególnie istotne dla gromadzących i analizujących zebrany materiał badawczy.
PL
Celem artykułu jest przegląd zmian dokonujących się w europejskim i światowym sektorze TCLF (włókienniczym, odzieżowym, skórzanym i obuwniczym) na przestrzeni ostatniego dziesięciolecia z punktu widzenia nowych wymogów dążenia do gospodarki cyrkularnej a w ostatnich latach do gospodarki cyfrowej. W artykule przeprowadzono charakterystykę zmian w częściach składowych tego przemysłu (nazywanego w przeszłości przemysłem lekkim), w Unii Europejskiej oraz w gospodarce światowej w kontekście wymogów zrównoważonego rozwoju oraz niwelowania skutków niekorzystnych zmian klimatycznych. W ostatnich programach europejskich i światowych chodzi bowiem głównie o osiągnięcie surowych wymogów gospodarki cyrkularnej, w tym zwłaszcza na zmniejszenie presji na zasoby naturalne o osiągnięcie celu neutralności klimatycznej do końca 2050 r. Tym pozytywnym dla naszej planety zmianom, sprzyja również dążenie do rozwoju gospodarki cyfrowej.
EN
The article aims to review the changes that have taken place in the European and global TCLF (Textiles‑Clothing‑Leather‑Footwear) sector over the last decade from the perspective of new requirements of pursuing a circular and, especially in recent years, a digital economy. The paper describes the changes in the components of this industry (formerly called the light industry) in the European Union and the world economy in the context of sustainable development requirements and the effects of climate change. Recent European and global programs mainly aim to achieve the circular economy’s strict requirements, including reducing pressure on natural resources, to achieve climate neutrality by the end of 2050. This positive change for our planet is also supported by the pursuit of the development of the digital economy.
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